Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.
A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the resurgence of populist movements, the pushback against social awareness, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, today a different political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
For Enninful, the antidote has always been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from literature.
"People with a voice should employ it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."
A New Wave of Consciousness
He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."
His formative years would forge a trailblazing career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.
"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
Launching a Creative Venture
He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".
"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."
Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has involved adversity, including well-documented struggles with mental health and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
The Tate Britain Exhibition
This refusal to fit into a box has led him beyond the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.
"Institutions often failed to celebrate the right artists because they did not have the traditional credentials," he comments.
This venture itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of defying expectations.
What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."
He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."